The Amityville Horror

George Lutz and his wife Kathleen, move into their Long Island dream house with their children only for their lives to be turned into a hellish nightmare. The legacy of a murder committed in the house gradually affects the family and a priest is brought in to try and exorcise the demonic presence from their home.

Based on a true story that was claimed by writer Jay Anson, The Amityville Horror is about a large house on the coast of Long Island where newlyweds George and Kathy Lutz and their three children move into the house that they hope will be their dream house which ends up in terror. Despite full disclosure by the real estate agent of the house's history, George and Kathy buy the house. George says, "Houses don't have memories," but they turn to their family priest Father Delaney who believes the house is haunted and performs an exorcism on the house. But the evil spirit in the house causes him to become blind and makes him very sick. With the help of another priest Father Bolen and a police detective, George and Kathy face the fears of the house, but not knowing the spirit is planning to possess George and then the children... . You can read more in Google, Youtube, Wiki

The Amityville Horror torrent reviews

Muntasim T (us) wrote: A throwback to the 80's Hindi films, when logic took a backseat and entertainment on a grand scale was the order of the day. A surprisingly ripped Ajay Devgan plays the superhuman hero while Prakash Raj plays a very fun, 'ego' driven villain. While I was waving my head at the outrageously exaggerated actions, it managed to hold my attention through out, and that's good enough for a movie that doesn't claim to have metaphor driven messages, rather takes its cue from the South Indian films for its storyline bereft of coherence or credibility.

Lina L (nl) wrote: Well haven't seen a bad movie in awhile. There was a good plot and good acting but the writers just didn't know how to handle it so they killed it.

Thomas J (nl) wrote: I enjoyed Dustin Belt's performance as Billy, the rest were the result of trailer park acting school. It is a nice story, but other than Dustin Belt, the acting is too distracting to enjoy.

Karsh D (nl) wrote: As bad as it gets. Not one redeeming feature, not one.

David L (au) wrote: Tiresome, dreary, and lacking any dramatic spark in its narrative, "Medicine for Melancholy" gives us no point of entry into its story, and its characters wander aimlessly throughout without ever connecting with us.

Chinmai R (ca) wrote: I want to see it somewhere other than a noisy Spanish 4 classroom.

Adam F (jp) wrote: The first Godzilla movie is a classic in the giant movie monster genre and it was a massive hit when it was released so a sequel was bound to happen. While "Godzilla Raids Again" does have some charm and brings a much beloved character to the franchise, it leaves a lot to be desired. So if you're not familiar with the first film, basically out of the reckless nuclear testing around Japan arose a creature named Godzilla. This monster was an enormous radioactive dinosaur-like creature that destroyed everything in its path deliberately. Conventional weapons were useless against it and even man's most destructive creation, the H-Bomb was useless, since it essentially gave birth to the beast. A scientist named Dr. Serizawa managed to destroy it but at a great cost. Not wanting his invention, the Oxygen Destroyer, to be unleashed upon the world without any practical use besides death, he destroyed himself and Godzilla to save Japan. This sequel begins and we are immediately introduced to a new Godzilla as well as another monster: Anguirus. Anguirus is an enormous species of Ankylosaur, an armored, 4-legged dinosaur with spikes on its tail. This very aggressive, carnivorous dinosaur attacks Godzilla and during their brawl, the two monsters wreck Osaka. With not one, but two monsters to deal with, how will humanity survive without the weapon that defeated Godzilla the first time?The movie starts off great, but it peters out towards the end. We begin by bringing back Godzilla and the devastation that accompanies him. That was a given of course, but this time, we put a new spin it. Godzilla is pitted against Anguirus, a monster that will become a favorite among fans and return for several films later in the series. Instead of deliberately attacking the humans, these two creatures are out to destroy each other and we're stuck in the middle. Godzilla's opponent here has become a key player in the franchise, and it's easy to see why. Once again we've got a dinosaur, brought back to present day by nuclear weapons, but this is one a quadruped, with sharp teeth, claws, spikes and an armored back so we've got a nice contrast between the two. It's like that old "rivalry" between T-Rex and Triceratops. One's armed to the teeth with spikes and horns, while the other has the taller stature. It's a good matchup. We've got Godzilla fighting against your conventional tanks and jet planes, but also against a foe his own size and they reduce Osaka to total rubble. We even get Archaeologist Kyohei Yamane (Takashi Shimura) back from the first movie so you get excited to see an "expert" on the matter brought back. When the second battle between Godzilla and his new enemy ends though, that's when the movie begins to go downhill.The problem is that the meaty action of the movie ends way too quickly and we're left mostly with the same plot as the first film, but with none of the surprises, not nearly as much destruction, nowhere as many scenes of special effects and a slew of human characters that aren't nearly as interesting. While I will say that the ultimate conclusion to the film is pretty clever, the movie just isn't as exciting as the previous film. You expect the big selling point of this movie to be the conflict between Anguirus and Godzilla but it really isn't, which I guess leads me to both praise the film for being unpredictable but lament the fact that the end is kind of a letdown. Maybe it is just expectations but at two points during the first half of the film you see several characters that are far more interesting than the ones we end of spending most of the film with: Anguirus, and a group of prisoners who take the total blackout of Osaka as an opportunity to escape from the armored car they are being transported in. With the fact that there is nothing left to destroy Godzilla and that it seems like only delaying the inevitable over and over is humanity's option, there are a lot of parallels between humanity's attitude towards the monster and the prisoner's escape so you want to see things that end up not being a big part of the movie at all.It's not really that "Godzilla Raids Again" is that bad, it's just a disappointment, particularly if you grew up watching some of the more accessible Godzilla movies that featured both of the monsters heavily and you're catching up to this one late. The special effects are pretty good, on the same level as the first if not better, but all of the subtlety is missing here. Considering this is a direct sequel and the fact that with the subsequent Godzilla movies they never re-introduce the character it's kind of a must on your list of Godzilla movies to watch for your Godzilla-thon, but it's not one of the series' best so a slightly above average rating, while noting that you need to see the first to appreciate this one. (Original Japanese with English subtitles on Dvd, March 26, 2014)

Brendan N (ag) wrote: one of the greatest films made for the modern era. clever characters with so much depth and kevin smith showing restraint with the jokes.

Harry W (it) wrote: Considered to be one of Charlie Chaplin's greatest achievements, Modern Times sounded like a hilarious slapstick pieceModern Times is a film that drew Charlie Chaplin accusation of luddism as he refused to move into sound cinema and instead dedicated himself to keeping the vaudevillian spirit alive in the face of changing times. Looking at the film in a contemporary age where all the man's films have nostalgic value, it is clear that Modern Times is one of his finest works. To call the man a luddist is to say Quentin Tarantino is a plagarist.Modern Times is essentially the Tramp's journey into Metropolis. As a means of ensuring this, the production values in the feature are really effective. The production design of Modern Times is beautiful.Cleverly making use of only a selective few locations to tell its story, Modern Times manages to make the most out of all of them. Each scene in the film takes place in a different location, yet the scenes are stretched out so that there is a sense that the potential in all of them is maximized. The result is a lot of creative hilarity from the many situations where Charlie Chaplin takes his slapstick to brilliant extents. Some of the imagery in the film is the most iconic of Charlie Chaplin's entire career, including the sight of him being grinded between cogs. The humour always makes use of the universe around the characters and the entire experience is captured with fine cinematography that really turns it all into wonderful imagery while working with the movements of Charlie Chaplin. And with so much of the footage in Modern Times being sped-up, the slapstick comes at viewers a lot faster and condenses the energy of the film into a swift 83 minutes of consistent laughter. The genuine feeling of it all is kept alive by the musical score which keeps consistently flowing at a fast rate with lighthearted jonty tunes during the funnier moments of the film which also oscillate with the more sentimental tone that comes into the dramatic sequences. Rarely does the humour drag on, but at the same time it is not solely dedicated to the physical comedy side of things.Though Modern Times is clearly dictated to be a stylie-driven slapstick comedy, there is an extent of social commentary in the story which cannot be disregarded. Though it is subtle, there are intelligent comments regarding suvival of the Great Depression and attempts to maintain employment in the face of the industrial age. All of this is buried into the comedy within the narrative so that it gives viewers a chance to laugh while they have their thoughts challenged. These plot points do not get in the way of the narrative being a joyful comedy, but they do demand the viewer's consideration. They play second fiddle to the humour in the film which ensures that it is a comedy at heart and therefore not precisely as meaningful as some of his other works where the use of dialogue is a significant factor in conveying what truly goes on in the mind of Charlie Chaplin, but the elements of political commentary are represented very well by the imagery in the film and serve to give an unprecedented level of depth to the extensive slapstick spectacle. The recurring word to determine value in Modern Times is the term "slapstick", and it is sourced almost solely from the efforts of lead actor Charlie Chaplin. With a clear passion for the film as writer and director, Charlie Chaplin takes Modern Times' material by storm when he enters the screen because he captures his character with every inch of the part from the smallest elements of his facial expressions to his most over the top antics. Charlie Chaplin's natural gimmicks are as refreshing as ever, proving to be the backbone of the film which takes it through the entirety of its 83 minute running time. And yet, there are also some moments where he is really able to bring a touch of suble drama to the film. Though his voice is not heard, Charlie Chaplin evokes a sense of emotional frailty based on the smallest elements of his character since he really sinks his teeth into every inch of the role. And as the final silent film to feature him portraying The Tramp in a leading role, Modern Times proves to be a very heartfelt sendoff for the legendary character archetype, so it is ultimately a hilarious and bittersweet effort on behalf of Charlie Chaplin which never fails to leave audiences of all different times and ages laughing at the sight of a clownish man falling into machineryPaulette Goddard also does a lovely effort. Playing the romantic opposite of the protagonist, Paulette Goddard is not around with the intention of making audiences laugh. She is there to make them feel, and she does a lovely job of that. The level of sympathy she intends to establish is limited by the nature of the film as a silent movie, and yet she transcends that because even as she speaks in silence there is a sense of beautiful passion in her maner of delivering it. She has a smile which just lights up the screen and a determined sense of energy which she uses to keep herself consistently physically active. Paulette Goddard easily has audiences captivated by her naturally beautiful charms, so she is most welcome to be working alongside Charlie Chaplin as she interacts with his passion for physical humour with natural instict, meaning that she keeps up with the pace of the humour in Modern Times with ease.So Modern Times delivers more of the hilarious slapstick that fans of Charlie Chaplin have come to expect, raising the scale with increased production values and increasing the genuine credibility of the film with the addition of intelligent political commentary in the subtext.

Craig T (kr) wrote: classic!!!!!!!!!!!!!!!!!!!!!!!

Dominic F (gb) wrote: Remember Chiwetel Ejiofor, star of 2013 Top 40er 12 Years A Slave? His first major critical success was a murder mystery on the Top 40 Films of '002, Dirty Pretty Things. The central plot element is among the most disturbing homicides in film history. Ejiofor's character juggles many jobs, including taxis, room service, and medicine, and the homicide investigation begins when a prostitute sends him to Room 510. The toilet is overflowing, and he has to reach down the toilet to extricate something that the killer tried to flush down. It was clogged with the victim's heart! Okwe has two objectives: To save himself and a fellow hotel worker from deportation and/or prison, and to solve the murder and neutralize the threat.